Much like how Gabrielle Chanel had played with the code of women’s fashion, perfumer Olivier Polge experimented with the fougère accord in creating Boy (Chanel, 2016). This perfumery accord was born when perfumer Paul Parquet created the eponymous Fougère Royale (Houbigant, 1882). The accord classically revolves around lavender, oakmoss, and sweet coumarin, but also contains a citrus top, geranium and spicy herbs in the heart, and woody or animalic notes in the base. It is traditionally associated with masculine fragrances. But Polge was determined to flout that rule and toy with the accord. The result is nothing short of brilliant.
Already, the fresh top of Boy is a tell-tale sign. It is Chanel; it is aldehydic with penetrating citrusy and rosy notes. These come hand in hand with grapefruit and fresh lemon. The effect feels like an effervescent champagne with a rosy tinge. Accompanying that is lavender aplenty with its aromatic, herbal, and floral charm easily felt. This sublime lavender of Boy runs the show for the rest of its top-note freshness.
The composition, then, segues classically into a rosy geranium heart, but it takes a surprisingly soft turn here. A touch of orange blossom and jasminic brightness wraps around the sharp geranium. A rich sandalwood accord evinces an intimate caress towards the dry down.
It becomes enveloping, but also with a dusky accent. At first, the tonka bean note of coumarin provides a warm sweetness, like a gentle fondle. This develops into a full embrace with the powdery sweet vanilla and heliotrope. There is also a hint of hidden desire in hot patchouli and civet that feels like a nod to the classic Jicky (Guerlain, 1889). But contrasted classically by the mossy note of Evernyl, this sensual sweetness has suddenly acquired a rough-hewn signature. Around this mossy sweet powder forming the dry down is a rich musk cocktail that keeps Boy soft and intimate for all of its day-long duration—those who are anosmic to certain musks may thus find this part of Boy to be a whisper.
The fougère accord is manipulated in Boy to reveal an interestingly tender side. Whilst the classical trinity of lavender, coumarin, and oakmoss as well as the animalic touch of civet are kept, the character of fougère is made softer, borrowing elements of feminine fragrances. The fresh introduction consists of aldehydic and rosy notes beside the traditionally hesperidic notes. The powdery sweet coumarin is enhanced with heliotrope, vanilla, and musks. In this way, the accord sways towards its rosy and enveloping side. With Boy, Polge has saliently demonstrated the flexibility of this perfumery accord.
I think the reinvention of the fougère has been in the making, and Boy is almost the tipping point. Looking back in 1921, there was Maja (Myrurgia, 1921) whose fougère elements of citrus, lavender, geranium, and woody vetiver are hidden beneath a dominant spicy oriental personality. Then, only a decade ago, perfumer Jacques Polge perhaps tested the water with the patchouli and amber of Coromandel (Chanel, 2007) that resembles the rose-patchouli fougère of Zino Davidoff (Davidoff, 1986), except for the fact that lavender — one of the defining elements of a fougère — is absent in Coromandel. And, though Brit Rhythm For Her (Burberry, 2014) marries lavender and rosy peony, it is still a fresh floral rather than a fougère. But with Boy, the classical fougère has entered a new ground. Boy re-orchestrates the classical fougère to interesting effects. It may well pave the way for a revolution, and the next descendant of Boy might surprise us.
But, for now, I am quite enamoured of its rosy freshness and mossy-yet-sweet powder with that restrained elegance of Chanel.